In the historical drama Strange Chronicles of Tang (唐诡奇谭), the entrance of the rain-praying master, Rachel, immediately captivates the audience. Her unique hairstyle and layered costume stand in stark contrast to the other characters, prompting viewers to question its authenticity. Could this striking look truly belong to the Tang Dynasty? The answer is a definitive yes. Her appearance is a meticulous recreation of early Tang fashion, specifically from the 7th century, centered around two distinct elements: a practical yet elegant hairstyle and an innovative garment that redefined the silhouette.
The Whirlwind Chignon
The hairstyle worn by the character is known as the Reverse Coiled Chignon, or Fanwan Ji (反绾髻). Its most defining feature is a curved lock of hair framing the forehead, created by coiling the hair from the nape of the neck forward. This was a popular style in early Tang, particularly during the reign of Emperor Taizong. It was also poetically called the Leyou (乐游) Plateau Reverse Coiled Chignon, named after the scenic Leyou Plateau in Chang'an. This elevated park was a favorite leisure spot for nobility and literati, and the hairstyle's name evokes its association with outdoor activity and effortless grace.
Poet Gu Kuang (顾况) captured its essence in his verse, describing a female performer with her hair "coiled reverse, swirling like the wind." This highlights the style's core advantage: practicality. Unlike many elaborate Tang updos that required hours and copious pins, the Reverse Coiled Chignon was relatively simple to create and, more importantly, secure. It allowed for freedom of movement, making it ideal for dancers, acrobats, and active women of the time. The style provided a neat, streamlined profile that was both beautiful and functional.
This specific chignon represents a shift in early Tang aesthetics towards more dynamic and manageable fashion. It moves away from purely ceremonial or hierarchical displays towards accommodating an increasingly vibrant urban and social life in Chang'an. Its appearance in Strange Chronicles of Tang is not mere artistic license but a thoughtful nod to a documented historical trend, offering a glimpse into the daily lives of Tang women beyond the court.
The Elevated Waist Skirt
Equally distinctive is Rachel's costume, particularly the short, apron-like garment worn high on her torso. This item is a Waist Skirt, or Yaoqun (腰裙), also referred to as a "surrounding skirt." Scholars define it as a short skirt wrapped around the hip area. As recorded in the Dictionary of Ancient Chinese Clothing (中国古代服饰辞典), it was a separate piece "worn around the waist." Research on Tang Dynasty Dunhuang (敦煌) murals describes it as a wide band tied at the hips, fastened centrally with a knot or decorative jewel.
The key stylistic choice in the drama is its placement. The costume designers have positioned this Waist Skirt at the bustline, not the hips. This is firmly rooted in late Sui and early Tang sartorial evolution. During this period, a major fashion trend emerged: the dramatic raising of the waistline. As gowns and robes began to be tied just below the chest, all accompanying accessories and layers shifted upward accordingly. The Waist Skirt followed this trend, transforming from a hip garment into a high-waisted decorative panel.
Archaeological evidence supports this high placement. Murals from the tomb of Princess Xincheng (新城), a daughter of Emperor Taizong, clearly show court ladies wearing this high Waist Skirt. It was often made from vertically sewn, slender strips of fabric, creating a sleek, elongated look. This early Tang style differs from later, fuller versions. The layered effect it created added significant visual texture and sophistication to an outfit, much as depicted in the drama.
A Modern Revival
The accuracy of this composite look has been validated through modern cultural presentations. Actress Yang Zi once wore a costume replica for the program National Treasure (国家宝藏) that was directly based on the Princess Xincheng tomb murals. Her presentation showcased two versions: one with just an under-robe and a second with the Waist Skirt layered over it. The comparison was striking. The addition of the Waist Skirt immediately introduced depth, color contrast, and a refined complexity to the ensemble, proving its historical role as a crucial fashion accessory.
In Strange Chronicles of Tang, this specific sartorial choice for the rain master serves a narrative purpose. It visually sets her apart, marking her character as someone with specialized knowledge and a possibly mystical social role. The high waistline elongates her figure, while the layered skirt adds a sense of ritualistic preparation and motion. Each element of her costume, from the windswept chignon to the fluttering layers of fabric, contributes to an aura of otherworldly capability and grace.
This attention to detail moves beyond simple historical replication. It uses authentic fashion as a character development tool. The Reverse Coiled Chignon and the high Waist Skirt together create a silhouette that is powerful, elegant, and distinctly early Tang. They remind us that historical drama can be a conduit for rediscovering forgotten arts. The "shock" felt by audiences at this unique appearance is perhaps the same surprise of discovering that the past was far more diverse, practical, and inventive than our assumptions often allow.
